“…But you can keep ’em for the birds and bees” – Money (That’s What I Want)
While not everything here might be considered power pop, I do consider it great music. These are great albums at a “name-your-price” point. No excuses!
Beauty “I’d Do Almost Anything For You”
This Red Bank, New Jersey trio brings the goods on its full length debut. “Alive Tonight” opens with thick guitars and stacked harmonies and moves with confidence and purpose. “Acid Baby Girl” follows as a fuzzy love song built on warm feedback and a relaxed pulse, balancing noise with control. Tracks like “You Always Take Me” and “Daisy” lean into simple melodic structures, pairing heavy guitars with clean, memorable choruses. Fans of Superdrag or The Posies will recognize the balance between punch and melody, though the band keeps its own identity front and center. The sequencing stays tight and focused, with no wasted moments or weak tracks. The result feels cohesive, deliberate, and fully realized. This release deserves serious attention and lands comfortably among the year’s strongest albums. Highly Recommended.
Mommyheads “No Quietus”
I think the similarity to the cover of last year’s ‘One Eyed Band’ threw me off, but the band keeps pushing its blend of power pop and progressive rock with confidence and precision. “Triumph and Crash” stands out as a sharp nod to classic Genesis, especially the keyboard driven drama associated with Tony Banks, without slipping into imitation. “Black Veins” shows Adam Elk at his strongest as a writer and vocalist, and the song carries emotional weight and ambition, setting a high bar across the record. Tracks like “I’m Your Apocalypse” and “Race Care Brain” expand the scope further, layering ideas, textures, and shifting moods. The album feels intentional from start to finish, built for close listening rather than background play. This release works as a full sonic journey and rewards attention. Highly Recommended.
Static In Verona “Altered State Lines”
Chicago musician Rob Merz blends ambient textures with power pop in a focused, personal way. The opener “Alright in the Morning” sets the tone with echo soaked guitar lines, thick percussion, and a steady vocal lead. The title track, “Altered State Lines” builds momentum through layered, rhythmic guitars and a forward push. Merz’s approach feels distinct and intentional. “Camera” and “Fearful” slowly create atmosphere, pairing mood with clear narrative intent. “Demons” shifts gears with a heavy, Zeppelin inspired riff that adds weight and contrast. The closing “Back in the Aviary” drifts into a hazy, dreamlike soundscape, bringing the album to a calm and thoughtful end.
